Showing posts with label artists. Show all posts
Showing posts with label artists. Show all posts

Friday, March 20, 2009

Fond Memories


I am sometimes reminded of the great opportunities which have come to me across the years. Things I knew at the time were pretty cool, but which usually involved a lot of detail and a lot of work and, at the end, I just moved to the next project.

This week, the reminder was the unexpected death of Will Fahnoe. Will was a good artist and he contributed much to the arts community in our area. And he was my friend.

Twenty years ago, when I moved back "home," Will was one of the first artists I met after I was asked to serve as the Director (volunteer) of the Mayor's Program to Spotlight Local Artists. I visited his studio to select some work to hang in the Mayor's office. I was impressed by the variety of work which he produced in such a tiny space.

Over the next five years, I met and exhibited the work of almost one hundred artists -- from high schoolers to eighty year olds -- who had been recognized in some way outside of our town for their art and most, like Will, I did not know. But, Will was one of the ones whose path began to cross mine and who I could count on for support whenever I needed a group of artists.

When I began to look for participants in Artists Row on Broad Street, he was among the first I called. I knew he had outgrown his small bedroom studio and that one of the five storefronts in the City-sponsored project would be perfect for him. He had a good following of patrons and students, so he could afford the expenses of the rent-free building. He hung some track lights, set up a model stand for Tuesday and Thursday figure drawing classes and hung some paintings -- and some curtains. We had selected buildings which shared a wall, so Will became my neighbor.

For almost ten years, I was involved in the Sister City program -- another opportunity for me. I made my first international trip alone with 19 wooden crates as my personal baggage and experienced Japan for the first time. On my third trip there, I made all the arrangements for six artists and their paintings to go as well. Will was one of the six -- the only male.

As we approached the Atlanta Airport, I realized that I did not have my passport! I asked Will to take responsibility until I could arrive two days later. He handled the chore with good grace, but seemed relieved to give me back the reins. Each of us had a host family and partnered several days with Kansai artists for touring and art discussions. Will's considerable expertise and charm made my job easier.

When we returned, the seven of us planned a show of our Japanese paintings. Will created a delicate drawing for the invitation and painted a large image high on the studio wall -- the contrast of a small pen & ink drawing and a building sized mural being typical of his daily output. His good cheer and jovial laugh rang out during the evening of the opening reception.

Because of Will's death, I have been thinking of other special times in my life. When I returned from a trip to France and was no longer his Artist's Row neighbor, he opened his studio/gallery to me for my show. When I was a guest instructor in France for a group of Canadians, he was again one of six artists who traveled with me. He often greeted me with an insult and a hug -- and that big smile -- whether it had been three days or three months since our last greeting.

Our community gathered in celebration of Will Fahnoe last night. We will miss his drawing skills, his spirited living, his brusque ways, and his gentleness. I will miss his participation in my life and will cherish these fond memories.

My photo of Will Fahnoe on train in Japan. Coincidentally, the train car was #1016; the same as his studio street address at the time.

BushStrokes (c) AAB

Friday, November 23, 2007

Thanks for Gratitude and Hope

Today there was a memorial service for brushes in a small temple in Japan. Calligraphers and writers gathered to burn their old brushes in gratitude and in hopes of better penmanship. I have recently moved some old supplies to a new spot in my house, so this bit of information struck a chord with me. It seemed like a good idea to me.

My friend Karen Jacobs hangs her old worn, paint and gesso spattered brushes in the studio like bones or tiny sculptures. Malaika Favorite has incorporated them into her paintings on layered and folded canvas. I usually just poke them into pots and baskets and then I wonder why I keep them.

I do occasionally think of which series I was working on when I used them last or which pigment I was experimenting with or what I used incorrectly to make one of them hard and brittle. . . but I think I could do more to offer gratitude for their role in my creative impulses. And I certainly could use a little hope in the ‘getting better' department.

Hum . . . . A memorial service for brushes might just do it.

Monday, September 10, 2007

An International Line-Up

Last year while preparing for the residency in the South of France, I thought how cool it would be to put together a chronological list of the great artists who worked nearby. Of course, I never did.

Last week, my friend Ellie Clemens who lives there emailed some info about her friend Gail's workshop. I poked around the website and was delighted to find -- ta da! -- THE LIST. I was a little disappointed that I was left off, but there are quite a number of excellent painters anyway!
Addendum: Along with the usual suspects of Dali, Picasso and Toulouse-Lautrec, the list includes Matisse, Gauguin, Derain, Poussin, Braque, Chagall, Van Gogh, Magritte and others.

It's a good link for a Monday morning . . . even if Art History is not your thing and . . . even if you are not going to France.

(Photo shows Karen and me making connections with the First Century while painting in France.)

Sunday, July 08, 2007

Quote of the Week

From my friend, Pete, who often makes more sense than he should.

"blocks are a lot like boredom, i've found. rather than being a lack of something to do (at least for me) they're an unwillingness to do those things we feel we've been presented with."


Update on previous post:
The peaches in our window were replaced by the kittens who really need to go somewhere else to live. We've discovered another kind of block!


Thursday, May 31, 2007

The Color Between the Lines: True Value.

A couple of years ago, Georges Rouault was the subject of my BioGem on his birthday, May 27th. There is something about Rouault's work which speaks to me and today, I was able to see another of his paintings at an area museum. I am reminded of my grandmother and hours with coloring books. I get the feeling of the "orgy of colors" through church windows. I sense the honesty in simple shapes of ordinary things. In my short essay, I wrote that he used
arbitrary color choices, distortions of form, and off-kilter perspective with a little more. He chose religious themes in keeping with his deep Christian faith and social themes which reflected the human conditions near his studio in Paris. He gave his ordinary subjects a soul and expressed profound emotions about them which required a personal response from the viewer. He used confining, harsh black outlines and bold shapes of luminous, thick color which gave his work a monumental, yet child-like, quality.

This week, one of Michael Kimmelman's columns in the NYTimes was about Rouault. Whenever I read Kimmerman's writing, I learn something new, gain a new perspective or realize that "Hey, I knew that!" This week in
Revisiting Rouault's Stained Glass World, he gave us more than just a review of the gallery show, "Georges Rouault: Judges, Clowns and Whores." He gave us a little lyrical prose. His phrases sing as he discusses the work while mine stodgily march across the page. He wrote about "the luminosity of his (Rouault's) palette and the awkward elegance of his line" and that Rouault. . .
never denied the obvious connection between the thick black outlines in his paintings and the leaded church windows of medieval stained glass that he helped to restore. Those outlines flattened and broke up his work into fissures and shards of glowing color (deep purples, reds and blues) against a generally gloomy background.
Kimmelman related the disastrous results of Rouault's relationship with his dealer Vollard, the court decision on artists' property rights, and his burning of over 300 unfinished paintings.

And in the end, Kimmelman displayed an awkward elegance of line as well. He closed his column with "The market puts a price tag on art, but its true value has nothing to do with money: that was Rouault’s lesson.

It’s not a bad one for today."

The color between the lines: True Value.


Friday, May 18, 2007

Sight Recognition

When I first saw Dan Flavin's light installations, I was reminded of . . . . well, I wasn't sure of what. I just knew there was something familiar about it.
This image is at http://www.guggenheimcollection.org/site/artist_work_md_46_1.html

Last week, from out of the usually irreverent comments by Sparky Donatello in his blog, a light came on. He had posted a photo of "Just the late afternoon sun hitting the wall of the building across from our back door. . . ." He said it reminded him of Dan Flavin. Well, me too!

Suddenly, I thought back to my first exposure to Flavin and I knew why it was so familiar, yet not so familiar. I was reminded of . . . the way the morning sun explodes through the cracks high in the walls and lights unexpected things at my old summer cottage. I just couldn't get there from here.

It's one of my favorite parts about staying there overnight -- the surprising slices of that clear, bright light. The kind of light which Dan Flavin loves.

Sometimes it takes other eyes to recognize what is beyond what we are seeing.

More about Dan Flavin at
http://www.artcyclopedia.com/artists/flavin_dan.html
Sparky's Blog at
http://crackskullbob.squarespace.com

Wednesday, May 09, 2007

Chance Remarks

It was one of those phone calls which comes after a strange number shows up on the caller ID with no message, then a message with no real identification, just a guess on my part of who "Fred" is, and finally a real connection and a lovely time of catching up.

Fred was a high school student with my daughters more than 20 years ago. He had a little backyard frame shop and he assembled the chops I ordered from my wholesaler. It was a good deal for me and for him.

Now Fred has been painting. In spite of some teachers and a few family members who were discouraging, he travels and sells his work across the South in weekend festivals. He says he has a couple of my small paintings hanging in his house as a reminder that I was the first person to tell him that he could do anything he wanted to do. He seems happy.

Chance remarks of encouragement echoing through decades. Oh, my!

What chance remark will echo with Lucy for the next twenty years?

Tuesday, May 08, 2007

Construction Sites

Sometime in April, a freaky wind smashed the top of the trellis. Its bones were left hanging precariously in the almost bare vines of the Lady Banksia rose. I had built it some years ago with the boards from a temporary wheel chair ramp which my neighbors had constructed for my husband to use for a few weeks before he died. I probably didn't do a very good job, but it worked. I dreaded the chore of repairing it; I had repaired it once before when a car ran into it.

I did what I usually do it situations like this. I procrastinated. After all, it would soon be time for the rose to bloom and then it would need to be pruned and . . . .

So, now it has bloomed.
It was spectacular.

I have cut away much of the dead growth and have begun to trim as little as possible to keep from totally destroying the main growth, but enough to reconstruct the supports from beneath. It will not be easy, but this time I will have the help of two daughters and Lucy.

I will use Patrick Dougherty's sculpture as inspiration.




It promises to be spectacular again next spring,






Dome of Sculpture at Bluffton, SC. More about Daugherty's sculpture at The Stolen Day-- Part II -- April 2007 archive

Thursday, May 03, 2007

Morris and Whiteside & Larusso

An email from Morris and Whiteside and Red Piano Galleries arrived this week with an invitation to view the works of Joseph Larusso which have recently been put online. http://www.morris-whiteside.com/Lorusso.htm

I had been intrigued by his work when visiting the gallery last month. It has an old-fashioned feeling about it and I was curious about his age. I had remembered to search the Internet for Larusso when I returned home. I was pleased to learn more. He was born in 1966 as was my oldest daughter -- veritable babes!

The subjects, the compositions and the palette choices make it seem as if each image came from Larusso's grandmother's photo album. And each one draws the viewer toward its unique story.

While many of the paintings throughout the galleries are textured with juicy applications of paint and filled with light and color, Larusso's surfaces are smooth, yet layered, and seemingly glazed with sepia. His drawing skills give credibility to his patterning and the position and language of his figures add mystery to the story. The results are modern, yet ancient. An interesting combination.

The email this week was a nice reminder of a pleasant morning.

My blog entry at http://bushstrokes.blogspot.com/2007/04/just-come.html has more on my visit to Morris and Whiteside and the Red Piano Galleries.

Saturday, April 14, 2007

The Stolen Day - Part I

As the morning sun lit the tops of the trees at Sea Pines, we rushed around to pack our things and exclaim over things we didn't have time to do. We hugged one last time and headed home -- Frankie and Charlotte for the long drive to Virginia and me to Georgia.

Wait! I don't have to leave right away. I have a whole day just for me.

It was 9:30 in the morning as I passed the one place I didn't get to visit yesterday.
Could it be open?
It seems so! I made a quick u-turn. Yes!

And so. . . I got my visit to Morris and Whiteside Gallery and the Red Piano Gallery which has now been incorporated into the space as well.

http://www.morris-whiteside.com
807 William Hilton Parkway
Hilton Head Island, South Carolina
843.842.4433

I took my time with the always exciting watercolors of Stephen Scott Young and Dean Mitchell. I looked at the abstracted figures and heavy texture of Dan McGraw. I marveled at the quick brushstrokes of Marilyn Simandle. I wondered at the intricate landscapes of Joseph Orr. I wished for the powerful design ability of William Hooks. And as usual, was amazed at the handling of the paint by both Ken Auster and Pino. I introduced myself to the work of Joseph Larusso and vowed to search for more about him and his mysterious, old-fashioned images. I was in awe of the subtle value and temperature changes in the figures of Joe Bohler and happy to see his work here. I brought home the brochure on an upcoming show. And there were others . . . . Plus sculptures. Ah! the sculptures.

There is something very comfortable about this gallery. It always makes me feel good. They let me look all I want yet I never feel ignored. The work is well-presented with enough space to lend respect to even the smallest piece. There is room to look at the paintings and sculpture closely and from a distance in spaces which are not white-box. It is the kind of place which makes an artist want to do better work.

What joy in a stolen day!

Tuesday, January 23, 2007

Creative Seduction

Some lovely photos from Martha Marshall on her blog reminded me of an afternoon visit I made to the Castleberry Hill District in Atlanta last month. I spent all my (very short) time at the open studio of Jerry Maschinot. Photographs on this site show a little of his work.

His studio shows evidence of longevity -- leftover bits and pieces, works from old series, flotsam and jetsam from producing, showing and selling his work, a string of lights from a forgotten party, ribbons from awards both major and minor. His photographs and his pottery reflect his interest in surface and design. Both prove the technical ability which he has developed to create very personal statements. His creative energy fills the space.

I prowled around until I found some photos which struck my fancy. I selected a couple and browsed through a little more of the studio.

Then I spotted an unusual pot which I loved immediately.
No price!

I asked if it was an old series or a new direction. How could I not buy a piece which the artist had held onto for several years . . . and then decided he couldn't keep everything . . . and just put it on the shelf for an unsuspecting buyer to love?!

Aargh! I am so easily seduced by color and texture and shape. Once it was broccoli.

I think this is better.

Thursday, January 18, 2007

High Art

Yesterday, Alyson Stanfield wrote in her ArtBiz Blog at http://www.artbizblog.com/2007/01/in_atlanta.html about visiting the High Museum of Art in Atlanta. She mentioned that it was her third visit to a museum which had been designed by Richard Meier; she did not mention the 2005 addition by Renzo Piano which more than doubled the size of the Museum and added more space for exhibitions and visitor amenities. She mentioned the exhibition by Morris Louis and Elsworth Kelly and described being in the room with Louis's veils as a sense "--simultaneously--of being at the bottom of a canyon, at the foot of waterfalls, or in a room full of Medieval tapestries;" she did not mention the much touted LouvreAtlanta Exhibition. Did she choose not to mention the soaring architecture or the block-buster exhibition because she was unimpressed? I wonder.

In October, I wrote about my visit with my daughter to The High and LouvreAtlanta. http://bushstrokes.blogspot.com/2006/10/enlightening-conversation.html
I wrote that I was disappointed in the exhibition from the Louvre and the adjacent collections while my daughter simply enjoyed the opportunity to see the sketches, paintings and sculptures. I wonder if I should have done as Alyson did and simply not mentioned it.

However. I promised to return for a more thorough viewing. I did. And I approached it with fresher eyes. Alone and with a full day to browse. I started once again with the 30 or so busts; I am still in awe. I viewed all the art from the Louvre, spending a good bit of time with each piece and even listening to ALL the audio explanations. I enjoyed a number of small pieces, but I am still underwhelmed

I wandered through the gift shop and through several floors of the permanent collections. I stopped to visit the 'Hiney' Gallery (my name for a restroom where the black marble floors are so shiny there are clear reflections of bottoms in the stalls.) As I lunched on a lovely mushroom bisque and a veggie wrap in the ground floor café, I thought about what I might see next. Then, I decided to save the other exhibitions for another day.

Tuesday, October 10, 2006

The Power of Place


Somewhere on the winding roads of West Georgia near Pine Mountain, there is a small drive along the top of a ridge which comes out at Dowdell's Knob and an edge-of-the-world view across a wide valley. Tucked on a protected ledge is a historic marker which declares "This Was His Georgia." As the realization hits that the sloped sidewalk had been a President's wheelchair ramp and that he had come here to make decisions for His Country, the place takes on new meaning. It was not lost on the fellows in the sketch I made that day.

I was reminded of the power of this place when reading my latest issue of Cezanne-2006 -- a newsletter which covers the celebration of Cezanne in Provence. http://www.cezanne-2006.com/news/news9_en.html I made the connection through this explanation of an exhibition of photographs and videos by Julien Oppenheim which explores Cezanne's fascination for the Sainte-Victoire Mountain.
"Exploring what links us to places, to a place, to a key place.
Displaying the physical link to the place, the link with the land, the stone and the trees.
Feeling how your breathing changes when in contact with the place,
feeling your body enter into the place and touch it.
To be within, inside the place and capture its power. The power of the place that I come from."

I wondered about the places which make my breathing change. I wondered about whether I can give to those places some sense of their power in my life in the way that Cezanne did with his mountain. It's something to ponder.

Tuesday, September 12, 2006

A Question of Bloggin'

It seems everyone is doing it and there is the question. WHY? Why would anyone write stuff which can be read by ANYone around the world? Why would anyone read this stuff which comes off the keyboard like so much stream of consciousness writing? It seems the answer to 'why?' is as individual as both the writer and the reader and web-logs (blogs) are filling cyberspace with random thoughts . . . daily records . . . real communication . . . and even good business.


I read a few daily blogs. For me, they are like this row of trees at Puivert in France. Each day they are part of a whole: some have real texture to them, some are missing, some are skinny little things. On the lake's surface, their mirror image doubles their impact except where the water is disturbed. Like the trees and the lake, some mornings, the message is quite clear; other times, it falls on a ruffled surface (fuzzy brain.) But, along with my morning paper, each has a place in my day. There are many reasons why!

I am currently reading (and occasionally commenting on) these and a few other art blogs:
*Nita http://nitaleland.blogspot.com/ frequently talks about teaching and has recently reviewed a list of new watercolor books. I trust her knowledge and her reviews.
*Karen http://kajac2000.blogspot.com/ writes about process, where she's been and where she's going with her work.
*Robin http://artgirls.blogspot.com/
-----and *Martha http://artistsjournal.blogspot.com/ write about creative influences and business decisions which affect their work.
*Joyce http://hermitthrushstudio.blogspot.com/ posts a daily painting which she creates from her bicycle studio.
*Shelly http://cat-sidh.net/blog/ adds a whole new set of topics to my day and has taught me more than I ever thought I wanted to know about observing clouds (which made me know I had seen something special even though I didn't know what and that it was a once-in-a-lifetime sighting.)
*Robert's Letters http://www.painterskeys.com/ often hit the mark. Last week, his descriptions of clouds truly made paintings in my head.

Monday, September 11, 2006

Marking Changes

Over the weekend as I read and watched about the events surrounding 9/11, I have been reminded of photos in my files of a cold weekend in NYC more than 15 years ago. Some of my favorite images are stored in that box.

This is one of them from a winter business trip and a quick visit to the Statue of Liberty -- just a simple tourist snapshot with my spouse and the NYC skyline. Who could know what changes were on the horizon for all of us?

This week, the country marks the 5 years of 9/11. In November, my family will mark the 10 years of his death.

Wednesday, September 06, 2006

Taking Five

When I finish a major judging event, I "take five" -- a little time to rethink the awards selections. I reflect particularly on what made the winners stand out and whether I would choose a different set of winners another day.

We each spent an average of 2 minutes per exhibitor to move throughout the show asking questions about process, touching and looking at the work and making notes for later comparison. We were not surprised that many said they had never had a judge even enter their booth, much less ask questions. Having been out there ourselves for many years, we had seen many judges walk past without really knowing what they were seeing -- were they afraid someone would think they didn't know 'everything'?

Although I have been judging for more than twenty years, evaluation helps me grow as a judge and gives me confidence in my ability to handle the task when faced with new directions, new technology and new ideas. Over the weekend, I was able to return to the show after the awards were announced to review the choices which Joanna and I made. I only second-guessed myself on one choice and, in the long run, I was satisfied with my work.

NOTE: With so few websites available for reference, I have added descriptions to the post from Sunday, 9/3. Since Powers is a traditional festival, many of the entries are traditional and the awards relect this, but most also reflect a unique use of the medium.

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Both of us also had many friends in the show which is both a good thing and a bad thing. We get to see friends (good for us), but we know what their BEST looks like and that's what we want to see so we're tougher on friends (bad for them!) So today, I want to remind myself about my old friends and what I love about what they do.

Lucy Moore, Anniston, AL is a toy maker extraordinaire who greets everyone with a smile. Her stuffed animals and blankets have been in my house for almost than 30 years. Working in fur, she always has a new design or texture which excites her. And yes, our Lucy went home with a new mouse, but no, Susan did not bring home the L-A-R-G-E moose.
Charles Adams, Troy, AL shines a light on the world in stained glass and colored sugar. His famous brightly colored suckers, exquisite glass windows and lamps and wry sense of humor bring smiles everywhere. I've watched the subtle changes in his work for many years and he just gets better.
Brenda Harris Tustian, Ball Ground, GA is a hard working watercolorist who manages to look lovely and unruffled in any condition. Along with her floral paintings, she has developed a unique style of floral paintings and pet portraits. She has raised thousands of dollars with a series of Christmas scenes which she has created for various charities.
Kazuko Chiyo Sasaki, Birmingham, AL, has been creating sumi and watercolor paintings for longer than I have known her which is almost 40 years. Her quality is consistant, yet always fresh and her laugh is spontaneous and joyous.
Pam Snellgrove, LaGrange, GA melts glass rods to build tiny, elegant figurines with circles and loops and blobs. No one matches her control of this traditional craft or her eye for quality. She uses mostly clear rods, but occasionally adds some colored and painted glass.
Don McWhorter, Carrollton, GA throws large stoneware pottery which he decorates with intricate lacy designs. His pitchers look as if they come from Arabian Nights. He is often surrounded by visitors who just enjoy his conversations or his music.

All of these artists are solid, creative people. They along with their families can be seen at major festivals and craft shows throughout the Southeast. I am pleased to call them friends.

Sunday, September 03, 2006

Strutting Your Stuff

Yesterday's winners at Powers Crossroads Country Fair and Art Festival, Newnan, Georgia can also strut their stuff.

Joanna and I took a full day to look at each of the almost 250 exhibitors - checking for attention to detail and a personal interpretation of the medium. It was a hard decision in some cases and an easy one in others. Finally, we presented this list of 14 for recognition. Some of the artists were overwhelmed and grateful; others were ho-hum. Neither should have been.

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NOTE: I have added some comments since very few of these artists have a web presence.

Fine Art Best of Show
Mark Edwards, Hudson FL - metal sculpture -Edwards
Mark's large metal sculptures are like three dimensional abstract paintings with a perfect balance of shape, texture, space.
Awards of Excellence
David Gill, Richmond, VA - watercolor painting - Gill
David's highly detailed interiors make beautiful use of the juicy and transparent characteristics of watercolor.
Tim and Erika Peters, Winter Haven, FL - porcelain
Tim and Erika handle porcelain clay like no one else - carving into the dried clay pots or painting on a flat surface and then glazing in just the right places.
Maurice Cook, Birmingham, AL - acrylic painting - Cook photo
Maurice uses acrylics to paint stories filled with people and colorful shapes in a primitive style which sits just at the edge of outsider art.
Honorable Mention
Kathleen Green, Groveport,OH - oil painting
Kathleen uses layers of traditional oil pigment to tells stories of silent empty spaces filled with light and shadow.
Suzanne Bellows, Valrico, FL - batik/mixed media
Suzanne's beautiful silk batik creates the basis for such diverse pieces as jewelery and framed designs.
Fred Draper, Knoxville, TN - photography
Fred's photography covers a variety of subjects from found landscapes to interesting studio work but all have strong composition.

Craft Best Of Show
Connie Nabholz, Pensacola, FL - mixed media/beadwork
Connie Nabholz strings beads into exquisite abstract designs, into tiny little purses and amulet bags and into copies of her own paintings.
Awards of Excellence
William White, Jacksonville, Beach, FL - clay sculpture
Bill sculpts intriquing and humorous figures in layers of variously textured clay.
Robert Howell, Moultrie, GA - wood carving
Robert carves and paints fish leaving the suggestion of delicate movement.
Robert T. Roller, Bowden, GA - kick-wheel pottery
Robert uses a kick-wheel to throw his pottery which he fires in his own unique glazes.
Honorable Mention
Jeff Zaffino, Rossville, GA - mixed media/wood
Jeff creates intricate and amazing pictures using sheets of wood and a scroll saw.
Jerry Zefft, Statenville, GA - wooden puzzles
Jerry's wooden jigsaw puzzles appeal to both children and adults with color, shape and clean lines.
Janice Kirkland, St. Mary's GA - clay garden sculpture
Janice begins with a beautiful red clay and creates a wide variety of simple garden sculpture.

Another note: In case you think judging is simple and that a peacock would win over a rooster hands-down, take a look at the scraggly old peacock in the picture. The rooster gets my vote.

Friday, September 01, 2006

Influencing the Influence

When I research artists for my BioGem pages, I am often surprised at the influences which turn an artist toward one direction or another. Sometimes it is on a personal level; others times it happens to whole bunches of us at once. In art, sometimes it is even hard to tell which is the influence and which is the influencee.

Yesterday, I had a conversation with a friend who said, "I had to get back to what I do best; my work had gotten too crafty; I was adding too much junk." I knew what she meant; I had judged a show and was surprised to find her name attached to one of the collaged entries. We both wondered why she had gone in that direction.

The 20th C was filled with artists who invented new ways of expressing themselves. We thought they were in a class by themselves. Today, I see a whole realm of creative impulses out there which seem to be influencing the making of art. There are admonitions as non-specific as to "follow your muse" and "dream with color," to instructions to "take a bit of this, add a little of that, tear an edge, glaze over, try some texture, float in an old photograph, make a line with these new markers. . . ." And I am beginning to see a fading of that fine line between abstraction, altered books, contemporary painting, collage, assemblage, and scrapbooking.

Is this a good thing? Gotta think about this.


Robert Indiana was influenced by signs and LOVE.

Thursday, August 17, 2006

Does It Matter What I Look Like?

As I count the days to my 65th birthday, I keep looking at my goals for the year which include weight loss, exercise and walking. "My clothes will fit better." "I will have more stamina and flexibility for standing at the easel." "I will not get as tired at the computer while working on writing projects." Reasons enough, I thought.

Now comes this!
"Do women have a tough time getting noticed in the literary world and, if so, does looking good give some women an edge over their competitors?"
Written for subscribers to the Writer's Digest newsletter, these words jumped from the email. Could it apply to women painters as well? Is a gallery director more inclined to look closer at your work if you look "arty?" Will there be better opportunities for publicity if you photograph well? Should your work "look like you?" Is this a consideration for men?

And this!
"'I remember a friend telling me that her publicist had said she was pretty enough to go on television, and I was horrified,' says Lisa Selin Davis, author of the novel Belly. 'I assumed this was one industry where it didn't matter what you looked like.'"

In the end, the words carry the book and the art makes the sale, but. . . .
I think I'll go do some stair-climbing . . . . Just in case!

-----------------------------
Read "Does This Book Jacket Make Me Fat?"


Tuesday, August 15, 2006

Oprah Says, "There are no Coincidences."

I'm not so sure. Things seem to come together at the oddest times. What do you think: coincidence or something else?

Last week, Robert Genn's Twice Weekly Letters addressed which was more important in Judging -- "Mastery or Spark". I replied to his letter with the formula I have developed over 25 years of judging art. http://www.painterskeys.com/clickbacks/mastery-or-spark.asp The timing seemed coincidental since on Labor Day, for the third time in 15 years, I will be returning to judge the Powers Crossroads Festival near Atlanta. I began to think about my judging and this question of excellent technique vs. inspired creativity. I began to hope there would be many works which would include both.

Then, over the weekend, my long time friend, Joanna Ellington, called from Florida to say that she would be the second judge and would share the judging duties with me. Were there judging vibes in the air or simply another coincidence? Oh, dear.

Joanna and I have paid our dues as festival exhibitors, so we will be sure every exhibit gets a good look - we remember the snooty judges who just passed by. We are painters, but our art purchases have most often been from the potter or wood carver or metal sculptor or quilter -- we learned the difference between excellent work and the work of a friend. We honed our skills by preparing slides for watercolor society exhibitions, 'selected our own shows' before sending the entries off to the real juror, and often argued later with each other and the absent juror when comparing lists -- we understand the place of both the traditional and the avant-garde.

In spite of our similar backgrounds, we bring different styles, tastes and experiences to the job. I expect some differences of opinion as we select the winners and I wonder which will affect our choices for the 20 awards in the wide range of categories: Mastery, Spark or Compromise. I'll post the winners in September.